The first thing that struck me about the paintings of Canadian artist Renato Muccillo was his wonderfully subtle sense of value, as well as the range of expression he achieves with an understated use of color.

Though some of his compositions are dramatically lit, with dynamic cloud formations portrayed in a full range of values, most are subdued, with their value contrasts and color range carefully controlled.

Many of his works are scenes in which still, reflective water evokes a feeling of quiet and contemplation, sometimes with a simplicity that recalls the 19th century Luminists. He employs atmospheric perspective to give some of this works distinct planes of depth, and in others revels in the textures of his subjects, the soft edges of which are suggestionve of Tonalists like Inness.

In addition to the range of value relationships, there is an interesting range of scale at which he works. Though some of his studio pieces are fairly large, perhaps 30×30 inches (76x76cm), others are much smaller than they may first appear, attesting to Muccillo’s ability to use suggestion, and let your eye fill in detail. The four paintings above, bottom, are less then 8 inches (20cm) wide, the bottommost only 3×3 inches (8x8cm).

You will find on his website galleries of new works and archives, and one of miniatures. You can find additional work on the websites of Howard Mandville Galleries (also here), and White Rock Gallery. The latter has a short documentary video on the artist and his techniques. There is also an article about Muccillo on Southwest Art.

Like many American painters who started their careers in the late 19th century, William McGregor Paxton began his studies in the U.S. — in his case at the Cowles Art School, where he studied with Dennis Miller Bunker — but traveled to Europe to pursue further study. There he attended the Académie Julian and the École Des Beaux-Arts, where his instructors included Jean-Léon Gérôme.

Paxton was a founding member of The Guild of Boston Artists, along with Frank Weston Benson and Edmund Charles Tarbell.

Though I don’t know much about their actual influence on one another, I find comparisons of Paxton and Tarbell particularly interesting. Both were students of Gérôme, both painted exquisite portraits, particularly of women, and both were fascinated with the work of Johannes Vermeer. Both Paxton and Tarbell produced portraits in the context of room interiors infused with soft light that distinctly show the the Delft master’s influence.

Paxton, even more than Tarbell, was noted as a portraitist and for his figurative work. He experimented with degrees of focus and softness of edges in an unusual way, partly out if his study of Vermeer’s method and use of optical devices.

Though he was not known for still life, I particularly like Paxton’s handling of vases, jars and other still life objects within his room interiors. William Paxton was married to painter Elizabeth Okie Paxton, who was noted as a still life painter.

The painting, Girl Sweeping (images above, bottom) is here in Philadelphia at the Pennsylvania Academy of The Fine Arts, where I have been struck by its quiet beauty on numerous occasions. It’s interesting to compare it to a painting in the Indianapolis Museum of Art in which Paxton took on the same subject.

[Note: some of the images in the resources below should be considered NSFW.]